Ornamental art of the Khanty and Mansi peoples as a source of coded information. Khanty and Mansi ornaments Types of Khanty and Mansi embroidery ornaments

Topic: “Traditional clothes of the Khanty and Mansi”

Completed by: Poltavets Vladimir

student 4 "E" class MBOU

“Secondary school No. 2 – multidisciplinary

named after the honored builder

Russian Federation

Evgeniy Ivanovich Kuropatkin"

Head: Korlykhanova A.M.

Nizhnevartovsk 2017

Introduction……………………………………………………page 3

Main part……………………………………………………………p. 4

1.1.Men’s clothing……………………………………….p. 4

1.2.Women’s clothing……………………………………….p. 6

1.3.Children's clothing…………………………………….. page 6

1.4. Khanty footwear…………………………………………. .page 7

1.5.Head decorations………………………………….page 7

1.6.Origin of the ornament……………………….......page 8

1.7.Ornamental patterns………………………………p.8

Practical part………………………………………………………page 11

Conclusion…………………………………………………………..page 1

Literature………………………………………………………………. p.14

Introduction

We live in an extraordinary region, the name of which sounds very beautiful - Ugra. This is a region where people with very interesting customs live - the Khanty-Mansi. Every blade of grass, every animal has a special meaning for them. Every person born in this region should know the history of their people. Khanty are a small indigenous Ugric people. The very name Khanty means people. The Khanty and Mansi, in the past known as the Ostyaks and Voguls, and who are often called the “Ob Ugrians”, are the main indigenous population of the Khanty-Mansi Autonomous Okrug. Preservation of the traditions and culture of the Khanty and Mansi is one of the main principles of the cultural development of the district.

The cultural traditions of these small nations are gradually being lost. Therefore, their preservation is important today. I wanted to learn more about the indigenous people of our district, learn to understand the language of the Khanty ornament and find out what its significance is in the culture of the Khanty people.

We have set ourselves a goal: Get acquainted with the varieties of clothing of the Khanty and Mansi people; study patterns - ornaments often found in the clothing of indigenous people.

Tasks:

1. Analyze the national costume of the Khanty and Mansi, its components;

2. Determine the types of materials for making clothes

3. Study the ornamental patterns often found on clothing,

find their graphic representation.

4.Draw a conclusion on the work done and present it in the form of a presentation.

Object of study:

Subject of study:

Hypothesis: The ornamental patterns on the clothes of the aborigines are of a protective nature and are closely related to their surrounding world.

Main part

We live in the city of Nizhnevartovsk, Khanty-Mansiysk Autonomous Okrug. The indigenous population is the Khanty and Mansi. Therefore, careful preservation of traditions is one of the main principles of life of modern Khanty. Men are engaged in processing wood, bone, and metal. Women sew clothes from fur, cloth, and fish skin, embroidering them with beads and decorating them with national ornaments. Ornament is a powerful layer of the culture of the Khanty people. It is rich and diverse. The ornament of the Khanty people has its own national character, which is manifested in the choice of material, motifs of the ornament, color, i.e. has its own characteristics, its own figurative language, and we wanted to learn to understand the language of the Khanty ornament and find out what its significance is in the culture of the Khanty people.

Let's look at the national costumes of the Khanty-Mansi peoples. They are all beautiful and bright. People used to wear this every day, but now they wear these costumes on holidays.

Object of study: national clothes of the aborigines of Ugra

Subject of research: the symbolic meaning of ornamental patterns in the clothes of the Khanty and Mansi.

Hypothesis: The ornamental patterns on the clothes of the aborigines are of a protective nature and are closely related to their surrounding world.

1.1.Men's clothing

Among the northern Khanty and Mansi reindeer herders, the men's outerwear was a blind (without a slit in the front, worn over the head) clothes with a hood, which they borrowed from the Nenets (malitsa, goose). Their usual outer clothing consisted of fur coats made of deer and hare fur, squirrel and fox paws: the cut of these fur coats was open, straight-backed; they were tied with rope straps or wrapped and belted with a leather belt with a large overhang - a bosom. On the river Vakh Khanty hunters wore the so-called kolok for winter hunting. This is a short robe made of deerskin, sewn with the fur facing out. The kolek was tightly belted and the front flaps were tucked into the belt so that they would not interfere with fast skiing. The summer men's clothing of the Khanty northern reindeer herders did not differ in cut from the winter clothing. Old malitsa or cloth geese served as summer clothing. The southern and eastern Khanty hunters' summer clothing was a short robe made of coarse cloth, trimmed with fur along the collar, sleeves and right field. Sometimes summer clothes were made from canvas in the form of a raincoat.

Among the southern group of Khanty and Mansi, men's shirts (Khanty ernas, Mansi soup) were previously sewn from homespun nettle canvas; they were knee-length, with a turn-down collar, with wool embroidery on the chest and hem; later, kosovorotka shirts appeared, also embroidered. Shirts were belted with a slouch. In the first quarter of the 20th century. Shirts began to be sewn from purchased fabrics. The northern Khanty group used to make shirts only from factory fabrics. The shirt covered narrow trousers that went slightly below the knees (Khant. Kas, Mans. Mansup), which were sewn from rovduga, fish skin, canvas and paper fabrics. Over the shirt, men wore a belt or woven belt (Khant. antyp, mans. entap), to which a wooden sheath with a knife, a whetstone and a flint were hung in bags embroidered with beads. The lower part of the sheath was tied to the leg so that the knife could be easily and quickly pulled out. The winter footwear of the Khanty and Mansi reindeer herders (yorn-vai, i.e. “Nenets shoes”) was Nenets pima made from kamus with a fur stocking. The southern Priob Khanty bought these shoes from the northern Khanty - reindeer herders. Most Khanty wore short shoes - nyara, made from smoked elk, deer or horse camus, with the fur facing out. In winter shoes of this type, the upper part was lined with cloth, and the soles were cut out of durable and non-slip “brushes” and skin taken from the forehead of a deer. Nyara was worn on a thick, long stocking (wai), made of cloth, tarpaulin or rovduga. Men and women wore similar shoes. For men, stockings were attached with thin straps to the belt over the shirt. In summer, men and women wore leather shoes with elk leather soles. Ornaments were often applied to these shoes (using vegetable dyes).

1.2. Women's clothing

Women's winter clothing of the northern Khanty (Sakh) and Mansi (Sakha) - a double deer fur coat, tied at the front. In areas where there were few deer, the lining of the fur coat was made from hare and squirrel skins and from squirrel lapels, from duck, loon and swan skins. Women's fur coats among the Eastern Khanty were made from hare skins, squirrel paws, deer ears and scraps of deer fur; they were covered with cloth on top. The cut of the fur coats was swinging, with straight hems. It took up to 800 squirrel paws to make such a fur coat. When traveling long distances on reindeer, women, like men, wore malitsa and goose. Women's winter shoes were of the Nenets type, the same as those for men, but differed in a different arrangement of decorations made from strips of multi-colored cloth.

Women's summer clothing was a brightly colored cloth or cotton robe, decorated along the hem, flaps, cuffs and collar with stripes made of beads, colored fabric and rectangular plaques cast from tin; Women cast such plaques themselves in special molds made of soft stone or pine bark. Women's belts were narrower than men's and more elegant.

Women's shirts of the southern Khanty and Mansi groups were tunic-shaped, made of nettle and linen canvas; they were cross-stitched with blue and red wool. The shirts of the northern Khanty and Mansi groups were of Russian cut; they were sewn from various fabrics, with a straight cut on the chest. The dresses they had were of Tatar cut, with a yoke and a wide flounce. Eastern Khanty shirts had a wide turn-down collar, cuffs and gussets were made of a different material than the entire shirt. With the cessation of the production of nettle canvas, the southern Khanty began to sew dresses, sweaters and skirts the same as the local Russian peasants, and the skirts were made very wide.

1.3. Baby clothes

Children's clothing more firmly retained the old forms of adult clothing in cut and material; for example, children were still sewing clothes from bird skins at a time when this material disappeared from adult clothing. Making clothes rested entirely with the woman. Women prepared skins, rovduga and other materials for clothing, various threads for sewing skins, birch bark, and fabric; they embroidered with beads, applied ornaments in various ways, etc.

Indigenous peoples often used the symbols of Ugra

Blue - rivers and lakes of the region

White is the color of snow

Green is the color of the taiga

1.4. Khanty shoes

The winter footwear of the Khanty and Mansi reindeer herders (yorn-vai, i.e. “Nenets shoes”) was Nenets pima made from kamus with a fur stocking. The southern Priob Khanty bought these shoes from the northern Khanty - reindeer herders. Most Khanty wore short shoes - nyara, made from smoked elk, deer or horse camus, with the fur facing out. In winter shoes of this type, the upper part was lined with cloth, and the soles were cut out of durable and non-slip “brushes” and skin taken from the forehead of a deer. Nyara was worn on a thick, long stocking (wai), made of cloth, tarpaulin or rovduga. Men and women wore similar shoes. For men, stockings were attached with thin straps to the belt over the shirt. In summer, men and women wore leather shoes with elk leather soles. Ornaments were often applied to these shoes (using vegetable dyes).

1.5.Head decorations

Women in winter and summer wore large headscarves with a wide border and fringes. The scarf was worn draped over the shoulders and head, with the ends hanging loosely, folded diagonally into an uneven triangle; Women lowered a small triangle over their faces, thus covering it from men, the older relatives of their husbands. In former times, the Khanty and Mansi did not cut their hair. Men, having parted their hair in the middle, tied it at the sides into two buns and wrapped them with a red or other colored cord. Women braided their hair in two braids. Both men and women wove braids into their braids. Women's braids were connected at the bottom with a thick copper chain, which prevented them from swinging and hanging, interfering with work. Rings, bells, beads and other decorations were hung from the chain. Khanty women wore a large number of copper and silver rings. Among the southern Khanty, women's beaded jewelry was widespread; collars, various chest decorations, etc. Among the Khanty peoples, women's beaded jewelry was widespread: breast jewelry. The main colors of the beads were: white, blue, red, light blue, green, yellow. Colors were selected based on contrast. Beads and beaded jewelry are an integral part of the traditional Khanty culture.

1.6. Origin of the ornament

In 1872, in the album of the famous art historian Vladimir Vasilyevich Stasov, articles were noticed about the ornamentation of the Khanty and Mansi peoples, in which it was written that each people declares itself through culture. The culture of any people has features that speak of its originality. In the culture of the northern people, the ornament is unique. Ornament (from Latin - decoration) is a pattern based on repetition, intended for decorating various objects (clothing, dishes, weapons, furniture). It’s as if words are encoded in it, signs are encrypted, as in rock paintings, from which one can learn about the origins of the people’s culture and its development over time. Ornaments are geometric shapes, they consist of triangles, rectangles and squares, they represent the sun, earth, sky, animals. Ornaments arose as a result of observations of the surrounding world. While admiring nature, people have long noticed many interesting, unusual shapes and colors in it: patterns on the wings of butterflies and birds, patterns on snake skin or on the back of a caterpillar, patterns of leaves of various plants and tree bark. Nature is the source of everything for humans, including inspiration. In their ornaments, the Khanty and Mansi people depicted rich nature and their life in the north. Performed

ornament on fabric, paper, wood, metal.

1.7.Ornamental patterns

The clothing of the Khanty people is rich in ornamental patterns. Ornaments are symbols with the help of which a person expresses his attitude towards natural phenomena.

Ornament enlivens things, makes them more noticeable, beautiful and original. The Khanty ornamental system is based on two basic concepts: “trace” and “image”. Both concepts go back to the hunting worldview. Finding the trail of an animal is almost like prey, so the trail of the beast is sacred. The “trace” creates a border organization of the ornament. If a trace is sacred, then the parts of the animal’s body that leave it are also sacred. Among the Khanty, who live a traditional life, you can find garlands of dried “paws” of various animals: the more there are, the luckier the hunter. Therefore, the names of ornamental motifs often include the words “paws,” “claws,” and “foot.” In continuous borders the principle of synonymy between background and pattern was strictly observed. Another idea of ​​continuous borders is the “head”, the multiplicity of heads creates abundance. “Images” of an animal are “traces” (imprints) of its soul. Craftswomen are very proud of their ability to make beautiful things. In the ornament, the craftswoman performs the most abstract geometric forms with a very specific content, reflecting ideas about the surrounding reality. These are animals: navarne “frog”, shovyr pal “rabbit ears”, nyukhas “sable”; birds: vasyolyn “brood of ducklings”, pita bow “grouse grouse”, kholkhtykhl “black raven’s nest”; plants: ay sumatnuv “birch branch”, person: hashop “human torso”. The names of the patterns were given according to the similarity and likeness of the object.

Some ornaments were made at a strictly defined time, on the occasion of some event, for example, embroidering a bear footprint ornament on a mitten. Such a mitten was given to a hunter who caught a bear.

A pattern always has an applied side and is strictly connected with the function of the object on which it is applied, with its shape and material. And finally, any ornament has one meaning or another. It can have a direct meaning, reflect the real rhythms of life, or carry symbolic meanings fixed by tradition. The ornament performs three functions: communicative (the intention to convey information), magical and aesthetic.

Here are some Khanty ornaments .

The image of a bear protects the souls of children from all sorts of bad influences and evil spirits.

Deer – symbolizing a land filled with deer

The frog is a symbol of health and longevity of the newborn

Capercaillie - the bird of sleep

Snake - protects against illnesses, is the patroness of spirits

The cone is a symbol of the Khanty man

The sun gives life both present and future

Hare ears - spirit - (guardian in the form of a hare)

Birch branch - sacred tree

Wagtail - the arrival of spring

Practical work

2.1.Questionnaire

At our school, we conducted a survey of students in grades 3 and 4. 132 people were surveyed. The guys were asked the following questions:

4.What is an ornament?

We received the following responses:

1. Do you know what the indigenous people of our district are called?

Khanty and Mansi - 120 people, Russians - 12 people

2.What are Khanty and Mansi clothes made of?

From fur, animal skins - 115 people, from wool - 12 people, from fabric - 5 people.

3. What do the Khanty and Mansi traditionally do?

Hunting and fishing - 114 people, agriculture and cattle breeding - 18 people

4.What is an ornament?

108 people answered correctly, 12 people didn’t know, 12 people made a mistake.

5. Why do the Khanty and Mansi decorate their clothes with ornaments?

Beautiful clothes - 98 people, ornament is a talisman - 22 people, connection with nature - 12 people.

Based on the results of the survey, it became clear that not all the guys know about the indigenous population, what an ornament is and what it is needed for. We told the children about the symbolism of the ornament and what each pattern means.

Conclusion:

Having conducted research on the chosen topic, I became convinced of the relevance and significance of the topic “National clothing of the Khanty and Mansi”, which is a means of expressing the national characteristics of the people and their worldview.

Reflecting the history and culture of the Khanty and Mansi, showing what a talented and hardworking people they are.

We confirmed our hypothesis that the clothes were made from different types of animal skins and tree bark. Clothes were decorated with different patterns, ornaments and embroidered beads.

Decorated products are not only decoration, but also a talisman. There are patterns that are still revered today, for example: “rabbit ears”, “cross”, “frog”, “birch branch”.

Previously, all items were made for their own needs, now many items are made for the decoration of museum exhibitions, as souvenirs.

In the process of research we came to conclusions:

Concluding the review of the traditional clothing of the eastern Mansi and southern Khanty, it should be noted that already at the end of the 19th - beginning of the 20th century, women wore skirts, aprons, sweatshirts, and men wore jackets, boots, vests, i.e. costume elements widespread among the Khanty and Mansi.

Khanty ornaments have a symbolic meaning and contain images of sacred plants and animals. In ornaments, color also has a symbolic meaning (white - divine; red - the color of earthly life, warmth; black - a symbol of the underworld).

Today we cannot wear a national costume in everyday clothes, but we can show it at festivals, forums, concerts, New Year's performances, exhibitions, etc.

Literature:

1. Ernykhova E.A. Decorative and applied art of the Ob-Ugric peoples. - Yoshkar-Ola, 2000

2. Bannikov V.N., Petruk O.I. Fine arts in the national school. - Khanty-Mansiisk: 2005.

3. Grasmik A.F. An entertaining journey through the Tyumen region. 1993

4. Kaygorodova M.V. Decorative and applied arts of Khanty-Mansi Autonomous Okrug.

5. Nikolay Fomin Series “Ob Ugrians” http://www.liveinternet.ru /users/stephanya/post161403887/

6. Virtual Museum of Russian Primitive Art. Mitrofan Tebetev. http://www.museum.ru/Primitiv/img/exhibition/139.jpg.

The material reflects the Khanty folk art of ornament. The material can also be used in the form of an album for children of senior preschool age; it is a regional component.

Download:

Preview:

Khanty ornament and its symbolism.

Khanty folk art of ornament

The clothing of the Khanty people is rich in ornamental patterns. They decorate fur coats, cloth clothes, and shoes - pimas (burkas). These are winter boots made from reindeer skins that are taken off the feet of a reindeer. The work is long and painstaking, but such boots are very warm, light, durable and comfortable (they are sewn not with ordinary threads, but with the fiber of dried, crushed deer tendons).

Khanty ornaments are beautiful -
They contain all the signs of my homeland.
You will no longer find it throughout Russia
Such flowers and fabulous animals.
Patterns on clothes and dishes
Red as the sun and white as snow -
Looking at them since childhood, our people
The beautiful will not be parted forever.
They came into life for a reason
From under the needle, and brush, and cutter:
After all, masters of wood and bone
They put their souls and hearts into them.(M. Shulgin)

The Khanty ornamental system is based on two basic concepts: “trace” and “image”. Both concepts go back to the hunting worldview. Finding the trail of an animal is almost like prey, so the trail is sacred. The “trace” defines the border organization of the ornament. If a trace is sacred, then the parts of the animal’s body that leave it are also sacred. Among the Khanty, who live a traditional life, you can find garlands of dried “paws” of various animals: the more of them, the luckier the hunter. Therefore, the names of ornamental motifs often include the words “paws,” “claws,” and “foot.” In continuous borders the principle of synonymy between background and pattern was strictly observed. Another idea of ​​continuous borders is the “head”, the multiplicity of heads creates abundance. “Images” of an animal are “traces” (imprints) of its soul.

Khanty motives

Craftswomen are very proud of their ability to make beautiful things, because not every Khanty woman can cut out an ornament or beautifully and accurately sew narrow strips of fur or leather. In the ornament, the craftswoman fills the most abstract geometric forms with very specific content, reflecting ideas about the surrounding reality. These are animals: navarne “frog”, shovyr pal “rabbit ears”, nyukhas “sable”; birds: vasyolyn “brood of ducklings”, pita bow “grouse grouse”, kholkhtykhl “black raven’s nest”; plants: ay sumatnuv “birch branch”; natural phenomena: serkhainyukh “flowering bush”, here’s humpi “rolling waves”; and the man himself: hashop “human torso.” The names of the patterns were given according to the similarity and likeness of the object.

Some ornaments were made at a strictly defined time, on the occasion of some event, for example, embroidering a bear footprint ornament on a mitten. Such a mitten was given to a hunter who caught a bear.

A pattern always has an applied side and is strictly connected with the function of the object on which it is applied, with its shape and material. And finally, any ornament has one meaning or another. It can have the direct meaning of writing, reflect the real rhythms of life, or carry symbolic meanings fixed by tradition. The ornament performs three functions: communicative (the intention to convey information), magical and aesthetic.

Traditionally, it is believed that a thing is ready and can be used only when it is decorated. It is for this reason that ornament in the culture of the Khanty peoples is extremely stable and “dies” along with things. In a number of cases, the ornament survives them, turns out to be more durable, more viable, since it is transferred to non-traditional things and is included in a new culture.
The geometric ornament and its symbolism in the decorative and applied arts of the Lower Ob Khanty peoples are interesting. One of the most characteristic is the ornament made from pieces of light and dark deer fur.

Its motifs are distinguished by rectilinear or stepped outlines and are quite large in size. On fur clothing, the patterns are made up of wide stripes curved at right or obtuse angles. Spring-autumn clothes of Nuysakhs are also decorated with approximately the same ornaments. In everyday life, women rarely use sacred ornaments. Its motifs are associated with the animal or plant world, as well as with parts of the human body.

Various ornamented items were almost exclusively the work of women. They sewed with purchased metal needles, but previously they used homemade ones from deer or squirrel leg bones, or fish bones. When sewing, they put a thimble without a bottom on the index finger - a homemade bone one or a purchased metal one. The needles were stored in special needle cases made of deer skins or cloth or cotton fabrics. They were made in different shapes, decorated with appliqué, beads, embroidery, and equipped with a device for storing a thimble. In fairy tales, pincushions were credited with magical powers: they flew or swam across seas. Our search for the roots of this seemingly inconspicuous object led to the felt carpets of the southern peoples, who had the idea of ​​a flying carpet. The woman kept her handicrafts in a patterned birch bark box, yinil, or in a tutchan bag, made of skins and cloth, decorated with appliqués and pendants. There were so many pendants that they almost hid the ornament. Tutchan is a very expensive item for women; it was passed from mother to daughter, or the mother sewed a new one for her for the wedding.

“We women have a hundred knots, a thousand knots: you tie one knot, you untie another.”

The wonderful art of embroidering on canvas with colored threads - wool, paper, silk and garus - has now, unfortunately, been lost. The latest samples at the beginning of the 20th century. were collected for museums, some of them ended up in Hungary. This type of decorative and applied art was developed only in the southern regions - on Konda, Irtysh, Demyanka, Salym. Four technical techniques were known, and each had a special name: oblique stitch - keremkhanch, one-sided satin stitch inside an outline figure - Khanty Khanch (Khanty pattern), cross stitch - Sevemkhanch, square embroidery - rutkhanch (Russian pattern). Women spared no time, their own hands and eyes, filling almost the entire shirt or dress with patterns. The work could last up to two years. They also embroidered scarves and scarves, men's trousers, and mittens. Ornamented stockings and mittens were also knitted on knitting needles. The wool was purchased, but the Khanty dyed it themselves. In fairy tales you can also find the following description: “The mittens sparkle in the sun, their tops are knitted from pure silver.”

Khanty patterns

Mosaic patterns were applied not only on rovduga and fur, but also on colored purchased cloth. When working with fabrics, especially paper, they used another method of artistic processing - appliqué, i.e. sewing an overlay patterned strip onto some part of the product. Purchased fabrics were used to sew men's shirts, women's dresses and sakh robes, pillows, blankets for riding and sacrificial reindeer, bags, mittens, etc.

If rovduga and fur direct the imagination of craftswomen to search for new lines and shapes, then fabrics provide another opportunity - to express more fully the color perception of the world. In the first case, the pattern consists only of dark and light parts, i.e. it is diachrome. In fabrics, the pattern can be not only black and white, but, for example, black and yellow, which is already an expansion of the color spectrum. Fabrics make it possible to combine several colors and make the pattern polychrome. Interestingly, some color combinations achieve an even greater contrast effect than in black and white.

For example, the blue-red image of one of the deities - the heavenly horseman Urth - is even difficult to look at, it blinds the eyes. And the craftswomen knew what they were doing - after all, according to their ideas, you can look at the sun, but you can’t look at Urt.

One Khanty song says: The House of Urt hangs on chains between heaven and earth and sways from the wind along the south-north line. Urt rides on a motley horse and sees who needs what. He helps only those who remember him from time to time and give gifts. But Urth will not help someone who remembers him only when he is already in trouble. Thus ended the long song.

According to observations in recent years, the further north you go, the greater the play of colors in Khanty cloth products. You try to understand why certain color combinations arise, and you find some explanation in nature. You will be amazed by the violet-blue spectrum in women's clothing, and then you see it in an autumn blueberry bush with purple leaves.

Khanty ornaments

The ornamental systems of the Khanty people were developed and polished in the process of long-term creative practice. Therefore, fur products with mosaic decoration, as a rule, are characterized by a high level of artistic design and pronounced originality.

Polychrome replaced diachrome thanks to another imported material - multi-colored beads. The Khanty knew two techniques for making beaded jewelry: openwork mesh and sewing beads onto fabric or leather. This is how women's robes, dresses, collars, belts, shoes and garters, mittens, hats, handbags and pouches were decorated. Breast decorations were made from beads. At the end of the 19th century. beads seem to have started to go out of fashion, but are now experiencing their heyday again. Most of all, the Khanty valued opaque porcelain beads. Now it is rare. If there is a shortage of purchased beads, a substitute is found: wire insulation is cut into small pieces. Some items gradually stopped being decorated, but beaded wallets and bracelets appeared. On clothing, stripes of stringed beads are replacing the ancient pewter castings that were once made by the women themselves.

The Khanty decorated not only their clothes with ornaments, but also household items. The cradles were especially lovingly decorated; it is not for nothing that the Khanty fairy tale says: “The mother sewed him a cradle from birch bark, decorated with legged animals, sewed him a cradle, decorated with winged animals.” The main figure here was the wood grouse, guarding the soul of the child while he sleeps. Other images were also applied - sable, deer antlers, bear, cross.

Creating certain elements of ornament, individual motifs dating back to ancient times - to the cult of water, fire, various natural phenomena, the man of the North deified many objects, worshiped them, felt like a part of this big world. http://rudocs.exdat.com/docs2/index-586826.html

Khanty folk art of ornament

The clothing of the Khanty people is rich in ornamental patterns. They decorate fur coats, cloth clothes, and shoes - pimas (burkas). These are winter boots made from reindeer skins that are taken off the feet of a reindeer. The work is long and painstaking, but such boots are very warm, light, durable and comfortable (they are sewn not with ordinary threads, but with the fiber of dried, crushed deer tendons). From the site http://www.desertart.ru/litcoment.php?id=62.

Khanty ornaments are beautiful -
They contain all the signs of my homeland.
You will no longer find it throughout Russia
Such flowers and fabulous animals.
Patterns on clothes and dishes
Red as the sun and white as snow -
Looking at them since childhood, our people
The beautiful will not be parted forever.
They came into life for a reason
From under the needle, and brush, and cutter:
After all, masters of wood and bone
They put their souls and hearts into them. (M. Shulgin)

Khanty motives

Craftswomen are very proud of their ability to make beautiful things, because not every Khanty woman can cut out an ornament or beautifully and accurately sew narrow strips of fur or leather. In the ornament, the craftswoman fills the most abstract geometric forms with very specific content, reflecting ideas about the surrounding reality. These are animals: navarne “frog”, shovyr pal “rabbit ears”, nyukhas “sable”; birds: vasy olyn “brood of ducklings”, pita luk “grouse grouse”, kholkh tykhl “black raven’s nest”; plants: ay sumat nuv “birch branch”; natural phenomena: serhain yuh “flowering bush”, here humpi “rolling waves”; and the man himself: he shop “human torso.” The names of the patterns were given according to the similarity and likeness of the object.

Some ornaments were made at a strictly defined time, on the occasion of some event, for example, embroidering a bear footprint ornament on a mitten. Such a mitten was given to a hunter who caught a bear.

A pattern always has an applied side and is strictly connected with the function of the object on which it is applied, with its shape and material. And finally, any ornament has one meaning or another. It can have the direct meaning of writing, reflect the real rhythms of life, or carry symbolic meanings fixed by tradition. The ornament performs three functions: communicative (the intention to convey information), magical and aesthetic.

Traditionally, it is believed that a thing is ready and can be used only when it is decorated. It is for this reason that ornament in the culture of the Khanty peoples is extremely stable and “dies” along with things. In a number of cases, the ornament survives them, turns out to be more durable, more viable, since it is transferred to non-traditional things and is included in a new culture.
The geometric ornament and its symbolism in the decorative and applied arts of the Lower Ob Khanty peoples are interesting. One of the most characteristic is the ornament made from pieces of light and dark deer fur.

Its motifs are distinguished by rectilinear or stepped outlines and are quite large in size. On fur clothing, the patterns are made up of wide stripes curved at right or obtuse angles. Nui Sakh spring and autumn clothes are also decorated with approximately the same ornaments. In everyday life, women rarely use sacred ornaments. Its motifs are associated with the animal or plant world, as well as with parts of the human body.

Various ornamented items were almost exclusively the work of women.

They sewed with purchased metal needles, but previously they used homemade ones from deer or squirrel leg bones, or fish bones. When sewing, they put a thimble without a bottom on the index finger - a homemade bone one or a purchased metal one. The needles were stored in special needle cases made of deer skins or cloth or cotton fabrics. They were made in different shapes, decorated with appliqué, beads, embroidery, and equipped with a device for storing a thimble. In fairy tales, pincushions were credited with magical powers: they flew or swam across seas. Our search for the roots of this seemingly inconspicuous object led to the felt carpets of the southern peoples, who had the idea of ​​a flying carpet. The woman kept her handicrafts in a patterned birch bark box, yinil, or in a tutchan bag, made of skins and cloth, decorated with appliqués and pendants. There were so many pendants that they almost hid the ornament. Tutchan is a very expensive item for women; it was passed from mother to daughter, or the mother sewed a new one for her for the wedding.

“We women have a hundred knots, a thousand knots: you tie one knot, you untie another.”

The wonderful art of embroidering on canvas with colored threads - wool, paper, silk and garus - has now, unfortunately, been lost. The latest samples at the beginning of the 20th century. were collected for museums, some of them ended up in Hungary. This type of decorative and applied art was developed only in the southern regions - on Konda, Irtysh, Demyanka, Salym. Four technical techniques were known, and each had a special name: oblique stitch - kerem khanch, one-sided satin stitch inside an outlined figure - Khanty khanch (Khanty pattern), cross stitch - sevem khanch, square embroidery - rut khanch (Russian pattern). Women spared no time, their own hands and eyes, filling almost the entire shirt or dress with patterns. The work could last up to two years. They also embroidered scarves and scarves, men's trousers, and mittens. Ornamented stockings and mittens were also knitted on knitting needles. The wool was purchased, but the Khanty dyed it themselves. In fairy tales you can also find the following description: “The mittens sparkle in the sun, their tops are knitted from pure silver.”

Khanty patterns

Mosaic patterns were applied not only on rovduga and fur, but also on colored purchased cloth. When working with fabrics, especially paper, they used another method of artistic processing - appliqué, i.e. sewing an overlay patterned strip onto some part of the product. Purchased fabrics were used to sew men's shirts, women's dresses and sakh robes, pillows, blankets for riding and sacrificial reindeer, bags, mittens, etc.

If rovduga and fur direct the imagination of craftswomen to search for new lines and shapes, then fabrics provide another opportunity - to express more fully the color perception of the world. In the first case, the pattern consists only of dark and light parts, i.e. it is diachrome. In fabrics, the pattern can be not only black and white, but, for example, black and yellow, which is already an expansion of the color spectrum. Fabrics make it possible to combine several colors and make the pattern polychrome. Interestingly, some color combinations achieve an even greater contrast effect than in black and white.

For example, the blue-red image of one of the deities - the heavenly horseman Urth - is even difficult to look at, it blinds the eyes. And the craftswomen knew what they were doing - after all, according to their ideas, you can look at the sun, but you can’t look at Urt.

One Khanty song says: The House of Urt hangs on chains between heaven and earth and sways from the wind along the south-north line. Urt rides on a motley horse and sees who needs what. He helps only those who remember him from time to time and give gifts. But Urth will not help someone who remembers him only when he is already in trouble. Thus ended the long song.

According to observations in recent years, the further north you go, the greater the play of colors in Khanty cloth products. You try to understand why certain color combinations arise, and you find some explanation in nature. You will be amazed by the violet-blue spectrum in women's clothing, and then you see it in an autumn blueberry bush with purple leaves.

Khanty ornaments

A careful attitude towards age-old traditions is characteristic of the Khanty and Mansi peoples. Folk artists and craftswomen, who created beautiful, sophisticated ornaments on leather, furs, nettle and linen canvas, cotton fabrics, wood, and bone, put into their works the experience of many generations who lived in the harsh northern region.

Difficult climatic conditions have left their mark on many traditional types of creativity, including the complex art of ornaments; beads of bright, rich tones and colored appliqués are used to create them. The beauty and uniqueness of national ornaments can be fully appreciated during the traditional Khanty and Mansi holidays - at this time, every cozy roadside hotel receives a huge number of competition participants and spectators who come to see exciting colorful events.

Functional features of ornaments

The history of ornaments of the Ugric peoples Khanty and Mansi has ancient roots. Researchers have determined its origins, which date back to the Bronze Age. Already in those days, the ornament had special functions, including:

• communicative (the function of transmitting information that the creators invested in their products);
• aesthetic;
• magical.

Communicative function of Khanty and Mansi ornaments

The information embedded in traditional ornaments is of particular importance: with its help, the master conveyed his own wishes to the people for whom his creations were intended.

The art of ornament is an important part of the culture of the Khanty and Mansi. The unsurpassed beauty of the ornaments contains knowledge, peculiarities of thinking, traditions and experience of many previous generations. Thanks to the rich design, things decorated with ornaments acquire special originality and value, becoming a work of art. Fair pride in their work and the special artistic merits of the created works is inherent in many masters of the ornamental genre. Their creativity and the ornaments they created were very accurately described by the poet Mikul Shulgin:

They came into life for a reason
From under the needle, and brush, and cutter:
After all, masters of wood and bone
They put their souls and hearts into them.

Each Khanty and Mansi ornament pattern has its own meaning. Here are some of the many symbols used in the works of the Khanty and Mansi peoples:

• a cross-shaped star symbolizes the sun, especially revered in the north, concord and harmony of life;
• long parallel lines represent the long road of life;
• people with strong muscles – health and beauty;
• triangles in the shape of a yurt - the shelter of a home;
• branched patterns, bundles of several patterns into one whole indicate the strength of the clan, family unity, family hearth and life as a continuation of the clan.

A special place in the ornaments is given to the gods revered by the Khanty and Mansi - these are patterns depicting:

• the eyes of God, also meaning insight, peace;
• connections between heaven and earth;
• amulets from evil (black and white cubes and stars).

Each such sign means that a person whose home or clothing is decorated with a similar ornament is under divine protection, and from now on he is not afraid of evil forces and natural disasters.

Aesthetic function of ornaments

Everyone who has visited the traditional holidays of the Khanty and Mansi - Crow Day, Bear Festival, Reindeer Herder Day, etc. - knows how bright and beautiful the traditional holiday clothes and handicrafts of these peoples look. Bright, life-affirming ornaments look especially attractive against the backdrop of the snow-white expanses of the tundra in the bright sun. Ornaments and amulets accompany the northern peoples both on weekdays and on holidays - these traditions are sacredly preserved and continue from generation to generation.

Magical principles of creating ornaments

Some ancient customs, along with modernity, are still present in the life of the Khanty and Mansi today, and this is due to deep respect for the traditions of antiquity left by previous generations. The rules of survival in the harsh northern region, established by the ancestors, are sacredly revered and observed. Magical properties are also inherent in traditional ornaments - these are amulets against evil and anger, patterns that attract goodness, prosperity and happiness to the house.

Colorful ornamental symbols, based on faith in goodness and family happiness, accompany residents of the northern region throughout their lives, giving people strength and confidence in the future.

The culture of any nation has features that determine its originality, which are, as it were, the hallmark of an original culture, its historical path, intercultural and interethnic ties. Traditional folk ornament, to a greater extent than any other component of spiritual and material culture, is saturated with information encoded in the signs and motifs of patterns about the origins of the culture of the people and its development over time.

Ornament enlivens things, makes them more noticeable, beautiful and original. The ornament reveals in a vivid form the artistic characteristics of the people, their aesthetic tastes, the richness and national originality of art, a sense of rhythm, and an understanding of color and shape.

As much as the concepts of measure and beauty differ among different peoples, so, as a rule, do their most characteristic ornaments, which are a kind of symbolic “formula” of these ideas, differ.

Russian folk ornament

Russian folk ornament provides exceptionally fertile material for this. A huge variety of techniques, motifs, various local variants of Russian folk ornament is a huge layer of culture in which you can discover many interesting details that explain a lot in the internal logic and principles of the development of the culture of our people.

Today, the rich ornamental culture of the Russian North and Central Russia has been studied quite well; many samples of woven and embroidered patterns collected as a result of more than a century of collecting work have been published.

The ornament of traditional bracelet belts is similar to the patterns of ancient towels; in most cases, these are the same compositions of combed rhombuses and oblique crosses; in later things - combinations of triangles, squares, “checker” rhombuses.

It is difficult now to imagine how the future fate of traditional peasant art and ornament would have developed if this process had not been artificially interrupted by well-known historical events - collectivization, the “consolidation” of villages, the destruction of the age-old way of life of the village.

Towels

The attitude towards ornament as a protective, healing force has been preserved in some places to this day - in some Russian villages of Altai, it is customary to wipe children with skin problems with the patterned bran ends of towels. It is unlikely that in the past any significant event in a person’s life from birth to death took place without the participation of towels. For our ancestors, a towel was not just a utilitarian, everyday item, it was a ritual item, an indispensable attribute of family and social rituals. This attitude towards the towel was not accidental: since ancient times, it has been assigned the meaning of a talisman, the towel has become a symbol of good forces, a bright beginning. The towel was put on the main participants of the wedding - the groomsmen, the “big boyars”; The bride gave a towel of her own making to her new relatives - this was a kind of ritual signifying her entry into a new home.

Patterned knitting from wool

Patterned knitting from wool is one of the few women's activities that has survived and is quite widespread to this day. Of the traditional types of wool knitting, only mittens have survived. Craftswomen of the Russian North have been preserving their original knitting patterns for many years. Every craftswoman knows from childhood a large number of drawings, which she herself varies in each item. The patterns on the mittens are as significant as all the ornaments in folk art. The most interesting patterned socks have also been preserved in Mordovian knitting.

Stylized birds, flowers, rhombuses, crosses, triangles, stripes in complex combinations, pleasing to the eye - these are amulets-symbols passed from mother to daughter and are still preserved on the warm woolen “fabrics” of Pskov and Arkhangelsk craftswomen.

According to tradition, Arkhangelsk knitting patterns should not be disturbed; they cannot be knitted unfinished, cut off, or loops added to them. In finished mittens, if you put the right and left ones side by side, the pattern of the ornament of one mitten should continue in the pattern of the other. The pattern is knitted the same way both on the back of the mitten and on the palm.

Arkhangelsk patterned knitting has undergone almost no changes over the centuries. Only the composition of the yarn and the color scheme have changed. Initially, the pattern used combinations only of black, white and gray - the color of undyed goat hair. Then they learned to dye wool using roots, flowers, fruits, cones - it was a very labor-intensive process.

Khanty and Mansi ornaments

Until now, Mansi and Khanty ornaments have not been published in such a volume and scientific systematization in our country; only individual units of ornaments were mentioned in the works of scientists and researchers of Mansi culture.

Ornamental art is an important part of modern Mansi culture. The ornament can be found in products made of fur, leather, birch bark, beads, fabric, wood, bone and metal. Even today, Mansi decorate their clothes, shoes, scarves, belts, bags and other household items with ornaments.

The ornamental art of the Mansi was usually considered in conjunction with the ornamental art of the Khanty as the decorative art of the Ob Ugrians, since the differences between the Khanty and Mansi ornaments are insignificant.

The presence of common features in the ornaments of the Khanty and Mansi was the result of the common territory inhabited by these peoples and the close economic ties that existed between them. Thus, the Upper Sosvinsky, Sygvinsky, Upper Lozvinsky Mansi have long carried out an exchange with the Ob Khanty, with the Nenets, exchanging fur products for birch bark, which led to the exchange of motifs of ornaments, their understanding by these peoples.

In the recent past, the Mansi economy was subsistence. They made everything they needed for everyday life and crafts themselves. Since ancient times, there has been a division of labor in the production and finishing of clothing, shoes, utensils and other household items. Men were usually engaged in the manufacture and finishing of products from bone, wood and metal, women processed hides and birch bark, made rovduga, sewed things from these materials, and beautifully ornamented them.

Craftswomen are very proud of their ability to make beautiful things, because not every Mansi woman can cut out an ornament or beautifully and accurately sew narrow strips of fur or leather. Craftswomen S.V. Pelikova (Nyaksimvol), A.M. Khromova (Sosva) proudly showed their products, lovingly smoothing the fur with their hands, trying to show this or that ornament more expressively. The feeling of dignity and worship of the craftsmanship of ancestors sounded with particular force when they showed things made by mother, grandmother or father.

The craftswoman spent a lot of time making the item. For example, it took one or two years to embroider a shirt or dress. The craftswoman worked on the sakhi ornament for 5-6 or more years. The work was usually carried out in winter, with poor lighting.

A variety of materials are used to make ornaments. The choice of ornamental motifs and their composition also depend on the choice of material. Men's shirts and women's dresses were often decorated with embroidery, in addition to appliques. Embroidery was applied to the yoke, collar, placket and hem. Beautiful, delicate wool embroidery is a thing of the past.

A type of embroidery is bead sewing on fabrics and leather. Colored beads (palsac) were used to decorate wedding headbands, breast and neck decorations, clothing details, collars, cut edges, part of the shoulder, and cuffs. There are two known methods of weaving with beads: openwork mesh and sewing beads onto fabric. The tops of women's short leather shoes were embroidered with beads. They preferred bright, rich colors of beads (black, blue, red). White color was more often used for the background. Currently, small napkins, wallets, and jewelry are woven from beads.

Origin of the ornament. Motives

There are various statements and theories regarding the origin of the ornament and its connections. So S.K. Patkanov in 1897, in a study devoted to the oral creativity of the Irtysh Khanty, highly appreciated products made of birch bark and embroidery, pointing out the similarity of the latter with the embroidery of Russians, Mordvins, Zyryans, Permyaks and Tatars.

Ornamental traditions include symbolic images of representatives of the flora and fauna of the local region. The compositions of these images, like the images themselves, have not undergone changes over the past several centuries and have been strictly fixed by tradition. The color palette of the products refers to the Central Asian institute of decor, which is characterized by brightness and contrast of colors. The first publications of Obsk-Ugric ornament motifs were noted in 1872 in the album of V.V. Stasov and in 1879 by the Hungarian scientist A. Reguli. These were colored samples of Khanty embroidered patterns, where three categories of motifs were developed: images of birds: images of trees, geometric motifs. Birds and trees, due to stylization processes, have different configurations and conventional forms. There are paired birds, with various elements between them.

The question of the origin of the motif of paired birds has attracted researchers. It is believed that this kind of images penetrated to the Chuvash and then to the Ugrians from the countries of the East, but there is reason to believe that the relationship between the East and the peoples of the Volga and Ural regions developed both in the Bulgarian time and in an earlier period, when the role of intermediaries was played by the Sarmatians and Alan tribes.

Symbols of Ugra

Blue – rivers and lakes of the region

White is the color of snow

Green is the color of the taiga

National ornament of the Khanty and Mansi - deer antlers, amulets